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WD_374/ 2007
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 4 | | Medium: | oilstick on paper | | Size (inches): | 31.1 x 21.4 | | Size (mm): | 790 x 544 | | Catalog #: | WD_0374 | | Description: | Signed, date and copyright in pencil on the reverse.
UK underground - This is about the 1960s cultural movement. For the tube train system, see London Underground.
The UK underground was a countercultural movement in the United Kingdom linked to the underground culture in the United States and associated with the hippy phenomenon. Its primary focus was around Ladbroke Grove and Notting Hill in London. It generated its own magazines and newspapers, bands, clubs and alternative lifestyle, associated with cannabis and LSD use and a strong socio-political revolutionary agenda to create an alternative society.
Beatnik influence:
Many in the blossoming underground movement were influenced by 1950s Beatnik Beat generation writers such as William Burroughs and Allen Ginsberg, who paved the way for the hippies of the 1960s. During the 1960s, the Beatnik writers engaged in symbiotic evolution with freethinking academics including experimental Psychologist Timothy Leary.
An example of the cross-over of beatnik poetry and music can be seen when Burroughs appeared at the Phun City festival, organised by Mick Farren with underground community bands including the Pretty Things, the Pink Fairies, The Edgar Broughton Band and, from America, The MC5.
History:
The Underground movement in the UK was focused on the Ladbroke Grove/Notting Hill area of London, which Mick Farren said "was an enclave of freaks, immigrants and bohemians long before the hippies got there" (1). It was depicted in Colin MacInnes' famous novel Absolute Beginners depicting street culture at the time of the Notting Hill Riots in the 1950s.
The Underground paper International Times (IT) started in 1966 and Steve Abrams founder of Soma summarised the underground as a "literary and artistic avant-garde with a large contingent from Oxford and Cambridge. John Hopkins (Hoppy) a member of the editorial board of International Times for example, was trained as a physicist at Cambridge"
Police harassment of members of the underground (often referred to as "freaks", initially by others as an insult, and later by themselves as an act of defiance) became commonplace, particularly against the underground press. According to Farren, "Police harassment, if anything, made the underground press stronger. It focused attention, stiffened resolve, and tended to confirm that what we were doing was considered dangerous to the establishment."
Key Underground (community) bands on the time who often performed at benefit gigs for various worthy causes included Pink Floyd (when they still had Syd Barrett), Hawkwind, Deviants (featuring Mick Farren), Pink Fairies, other key people included, in the late '60s Marc Bolan who would leave 'the Grove' to find fame with T Rex and his partner Steve Peregrin Took who remained in Ladbroke Grove and continued to perform benefit gigs in the 'anti-commercial' ethos of the UK Underground. Sci-Fi writer and sometime Hawkwind member Michael Moorcock remembers:
"everything happened in Ladbroke Grove in the sixties and seventies. I mean it was just nice and I happened to live in Ladbroke Grove and it all happened around me. You couldn’t actually move for bloody Rock and Roll bands." (Reference - personal communication with author Fee Mercury Moon)
Within Portobello Road stood the Mountain Grill greasy spoon (working man's) café which in the late 1960s and early 1970s was frequented by many UK Underground artists such as Hawkwind featuring, at the time, Lemmy. It was of sufficient import to the members of the UK Underground that in 1974 Hawkwind released an album titled Hall Of The Mountain Grill and Steve Peregrin Took wrote Ballad of the Mountain Grill.(1)
Commentators:
Mick Farren said,
"My own feeling is that, not just sex, but anger and violence, are part and parcel of rock n' roll. The rock concert can work as an alternative for violence, an outlet for violence. But at that time there were a lot of things that made us really angry. We were outraged! In the U.S. the youth were sent to Vietnam and there was nothing we could do to change the way the government did it. Smoking marijuana and doing things to get thrown in jail were our own way of expressing our anger, and we wanted change - I believed that picking up a guitar, not a gun, would bring about change".(2)
It's like Germaine Greer said about the Underground - it's not just some sort of scruffy club you can join, you're in or you're out... it's like being a criminal.(3) "My own feeling is that, not just sex, but anger and violence, are part and parcel of rock n' roll. The rock concert can work as an alternative for violence, an outlet for violence. But at that time there were a lot of things that made us really angry. We were outraged! In the U.S. the youth were sent to Vietnam and there was nothing we could do to change the way the government did it. Smoking marijuana and doing things to get thrown in jail were our own way of expressing our anger, and we wanted change - I believed that picking up a guitar, not a gun, would bring about change".(2)
It's like Germaine Greer said about the Underground - it's not just some sort of scruffy club you can join, you're in or you're out... it's like being a criminal.(3)
Lifestyle:
The Underground Movement was also symbolised by the use of drugs. The types of drugs used were varied and in many cases the names and effects were unknown as Deviants/Pink Fairies member Russell Hunter, working at International Times (part of the Underground press at the time), recalled. "People used to send in all kinds of strange drugs and things, pills and powders, stuff to smoke and that. They'd always give them to me to try to find out what they were! (Laughs)".
Part of the sense of humour of the Underground, no doubt partly induced by the effects of both drugs and radical thinking was an enjoyment at "freakin' out the norms". Mick Farren recalls actions sure to elicit the required response. "The band's baroque House of Usher apartment on London's Shaftesbury Avenue had witnessed pre-Raphaelite hippy scenes, like Sandy the bass player (of the Deviants and Pink Fairies), Tony the now and again keyboard player, and a young David Bowie, fresh from Beckenham Arts Lab, sunbathing on the roof, taking photos of each other and posing coyly as sodomites".(2)
Aesthetics:
The image of the underground as manifested in magazines such as OZ and newspapers like International Times was dominated by key talented graphic artists, particularly Martin Sharp and the Nigel Waymouth–Michael English team, Hapshash and the Coloured Coat, who fused Alfons Mucha's Art Nouveau arabesques with the higher colour key of psychedelia.
The overground:
There was a smaller, less widely spread manifestation from the UK Underground termed the "Overground", which referred to an explicitly spiritual, cosmic, quasi-religious intent, though this was an element that had always been present. At least two magazines— Gandalf's Garden (6 issues, 1968–72) and Vishtaroon—adopted this "overground" style. Gandalf's Garden was also a shop/restaurant/meeting place at World's End, Chelsea. The magazines were printed on pastel paper using multi-coloured inks and contained articles about meditation, vegetarianism, mandalas, ethics, poetry, pacifism and other subjects at a distance from the more wild and militant aspects of the underground. The first issue of Gandalf's Garden urged that we should "seek to stimulate our own inner gardens if we are to save our Earth and ourselves from engulfment." It was edited by Muz Murray who is now called Ramana Baba and teaches yoga.
These attitudes were embodied musically in The Incredible String Band, who in 2003 were described as "holy" by Archbishop of Canterbury, Dr Rowan Williams, in a foreword for the book Be Glad: An Incredible String Band Compendium (Helter Skelter Books). He had previously chosen the band's track The Hedgehog's Song as his only piece of popular music on the radio programme Desert Island Discs). The late critic Ian MacDonald's had stated "much that appeared to be profane in Sixties youth culture was quite the opposite".
References:
1. ^ Steve Took's DomainRetrieved Aug. 8, 2004
2. ^ Mick Farren - The Strange Days interview Retrieved 26 April 2006
3. ^ Mick Farren interview Retrieved 26 April 2006
-en.wikipedia.org/wiki/UK_underground
Hapshash and the Coloured Coat -
Hapshash and the Coloured Coat were a British graphics team consisting of Michael English and Nigel Waymouth in the 1960s, producing psychedelic posters.
They designed usually brightly coloured images with a strong art nouveau influence from Alfons Mucha of swirling lines and curving shapes. Posters were used to promote appearances by major bands of the time such as the Pink Floyd and The Incredible String Band, as well as singers such as Julie Felix, mainly for the underground UFO Club.
English and Waymouth met in late 1966. Waymouth had just opened London's first psychedelic boutique, Granny Takes a Trip, in the Kings Road. They worked together initially and very briefly under the name Cosmic Colors (producing only one poster) and then Jacob and the Coloured Coat (producing two posters), before settling on Hapshash and the Coloured Coat. Their posters were printed and distributed by Osiris Visions, a division of the underground press publication International Times.
They also released an album, titled Hapshash and the Coloured Coat Featuring the Human Host and the Heavy Metal Kids in 1967, and a second one, Western Flier, in 1969. By this time English had left, and Waymouth strangely is mentioned in the liner notes as having decided to "record" the album, but not listed as one of the musicians.
In 2000, the Victoria and Albert Museum put on an exhibition of their work.
-en.wikipedia.org/wiki/Hapshash_and_the_
Coloured_Coat
Granny Takes a Trip -
Granny takes a trip, the original rock-chic boutique, was the brainchild of two young Londoners, Nigel Waymouth and Sheila Cohen, who were looking for an outlet for Cohen’s ever increasing collection of antique clothes. Nigel Waymouth invented the name and was offered the shop premises at 488 King’s Road, Chelsea, London, in an area known as World’s End where he had been working as a free-lance journalist. In the summer of 1965, the couple met John Pearse, who had trained as a tailor on Savile Row. The partnership was completed when he agreed to join them in the venture.
Granny Takes a Trip opened on a wet winter morning in early 1966 and by the spring had quickly achieved worldwide renown and was featured in the famous “Swinging London” edition of Time Magazine. Waymouth, Cohen and Pearse brought a radical, iconoclastic approach to the fashion and style of the time. They paved the way for many of the designer boutiques that followed, such as, Mr. Freedom, Alkasura, Let It Rock, and later the more ambitious enterprises of Vivienne Westwood and Paul Smith. In the subsequent decade, Granny Takes A Trip clothed London’s fashionable young men and women, including many major rock performers.
A constant stream of people visited the shop, especially on Saturdays, when the weekly King’s Road Parade would culminate in an obligatory trip to London’s trendiest boutique. Granny's became a Mecca for anyone looking for the latest hip, cool fashions. The shop became a hang spot for young people, browsing through clothes, listening to new sounds and exchanging latest counter culture ideas.
With an ambience that was a mixture of New Orleans bordello and futuristic fantasy, one would experience a heady feeling of deja vu within its walls, an ambience at once retro and au courant. Marbled patterns papered the walls, providing an exotic backdrop to the rails, which always carried an assortment of brightly colored clothes. Lace curtains draped the doorway of the only changing room, and a beaded glass curtain hung over the entrance at the top of steps, which lead on into the shop. In the back room, an art deco Wurlitzer blasted out a selection of favored music.
Granny takes a trip also became famous for its constantly changing facade. At one time the entire shop front was painted with a giant pop-art face of jean harlow. Overnight, that was replaced by an actual 1948 Dodge saloon car which appeared to crash out from the window and onto the forecourt. Over the next three years contrasting changes such as this took place at regular intervals.
By the end of the decade, the partnership began to lose momentum. Nigel Waymouth was becoming increasingly more involved in his poster and album cover design work, and John Pearse left for Italy to work with his friends in The Living Theatre Group. Sheila Cohen continued to keep Granny operating but found it too demanding a task without her former partners. In late 1969, Cohen passed on the shop to two New Yorkers, Gene Krell and his partner, Marty. Granny Takes A Trip remained open for another four years, until they closed its doors and the adventurous dream ended.
Granny Takes A Trip, has since been appropriated many times, in name, by music groups and clothing stores around the world, but none have matched the cachet of the original store. Innovative and unique, born from the alchemy of the imagination and talents of its three founders, it was the essence of the revolutionary spirit of swinging London in the sixties.
-en.wikipedia.org/wiki/Granny_Takes_a_Trip
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